Meet Professor Mark Thomsen, Artist in Residence

When you walk into the Music Department at Florida Southern, chances are you’ll hear the voice of Professor Mark Thomsen guiding a student through a phrase, pushing them to let their performance “sizzle,” or preparing them for the moment they step onto the stage. As an internationally acclaimed tenor who has sung at the Metropolitan Opera, La Scala, and Vienna State Opera, Professor Thomsen now brings his decades of stage experience directly to FSC students. Mocsie sat down with him to learn what inspires his teaching and how students benefit from studying with him.

You’ve sung on some of the world’s most famous stages. What inspired you to bring that experience back into the classroom at Florida Southern?

I’ve always been interested in teaching, and after years of traveling, I wanted to be in one spot. Florida Southern was a natural fit; I’d been here before and knew the campus was beautiful. But what really struck me was the people. Everyone I met was first-rate. I thought, “This is the place to be.”

 Mark Thomsen in Houston Grand Opera's 1986 production of Don Giovanni 

What stands out to you about FSC students?

They’re good kids—focused, honest, and not afraid to ask questions. If they don’t understand something, they say so. Sometimes they need help connecting the dots, and that’s where I come in. They’re also fun to be around, which makes teaching a joy.

Looking back, is there a performance that still gives you chills?

Absolutely. I once performed in Vienna with Leonard Bernstein conducting. Mid-performance, he stopped conducting altogether and just started grooving in the pit. The orchestra kept going, of course, and the energy was electric. That moment taught me the importance of inner energy and body language. It’s what I try to pass on to my students—letting their performances “sizzle,” like a pat of butter hitting a hot pan.

You often talk about uniting the brain, body, and heart in performance. How does that connect to this idea of “sizzle”?

It’s about making the piece your own—understanding the text, connecting emotionally, and using your breath and body to express it. When students research who the character is, what they want, and where they’ve come from in the story, everything starts to cook. When those elements merge, that’s when the performance comes alive.

What’s the most rewarding part of working one-on-one with young singers?

The “aha” moments. Singing is abstract—you can’t touch the instrument. So, when a student suddenly feels how breath, resonance, and mechanics work together, their voice frees up. It opens a whole new world for them, and it’s thrilling to watch.

What real-world opportunities do FSC music students have?

Plenty. Beyond our campus productions and concerts, we arrange internships—some at local churches, where students gain paid experience and expand their sacred repertoire. We also encourage summer programs, like the International Opera Performing Experience in Italy, which I co-founded. And, of course, there are weekly student recitals and voice labs that provide students with consistent practice performing in front of an audience.

You’ve also directed productions here. How does that benefit students?

I try to give them a realistic view of score preparation and rehearsal schedules. In the professional world, we often put on a performance in just two weeks. That means coming in with music completely memorized and ready. I explain that our class time is only a fraction of what professionals experience, so students need to invest time in practice outside the classroom. I'll even pair newer students with those who’ve been through the process before so they can coach each other.

What qualities should a student cultivate to succeed in this competitive field?

Focus. You’re really competing with yourself. Be your own best cheerleader, honor your strengths, and be greedy with your practice time. It’s an investment in yourself. And remember that opera is a play set to music. Keep the play in it. Don’t lose the joy.

Auditions can feel intimidating. What advice do you give students, especially those auditioning for FSC?

First, breathe—breathing exercises. Breathing can calm nerves. But more importantly, know that we’re on your side. We’re not looking to trip you up; we’re rooting for you. At FSC, you’ll get individual attention, more opportunities to perform, and a faculty that’s fully invested in your success. If you want to learn how to sizzle as a performer, this is the place to be.

Anything you’d like prospective students to know as they consider FSC?

When you walk in the door, we’ll support you. While you’re here, we’ll challenge and guide you. And after you graduate, the door stays open—we're always here for you.